Jim R

Eric, I don't know about everybody else, but I'm very relieved to hear that. B-) So... where were you on the morning of September 3rd?

I have Acrobat Reader 5.0, but this link won't work for me. It opens an IE page labeled "Index.php", which is blank. [Yes, I know #3 was my BFT... I was just going to check you for accuracy ]

Yes, I know. I hadn't noticed the "(V. Duke)" credit until after my initial post here. But still... oh, never mind. Part of me always wonders if there are people out there who go around thinking "autumn leaves" is "autumn in new york" thanks to errors like this. Probably very few...

Thanks Peter, that does help to clarify. Still kind of hard for me to believe there were still Lexington labels lying around after the Liberty takeover. At any rate, I know that it was a matter of getting some use out of on-hand resources, and that they certainly weren't looking ahead to crazy vinyl collectors analyzing all of this to death. Disc characteristics would indeed be more reliable, and as for the earlier post about covers, I would put very little importance on that in determining anything. Covers are easily switched (moreso than labels, obviously)...

Shocking!

I think the intro that you're asking for is: Was it in Tahiti Were we on the Nile Long long ago, say an hour or so I recall that I saw you smile...

I have "Dinner for one..." on THE HAWK IN HI FI, J.J.'s TANGENCE, and Nat Cole SINGS FOR TWO IN LOVE. "The ruby and the pearl" is also on BACK TO THE TRACKS "Gloomy Sunday" is on Johnny Griffin's WHITE GARDENIA. Sarah did it too, I think. ====== Thanks for the responses so far. I think I underestimated the talents of Mr. Marsalis. As I said, I'd heard him before, and actually I thought he was pretty talented, but this track really surprised me. I hear you in terms of "personality" limitations, Jim. I'll be very surprised if the whole CD is as good for me as this track was. I'm still curious about the sound on this recording... it had that touch of echo (or reverb?) that you rarely hear anymore.

I was just enjoying "The Jazz Oasis" program on KCSM, a nightly show that features a lot of old and new ballad recordings. When I turned it on, there was this extremely tasty tenor interpretation of an old tune that I recognized, but couldn't name (found out later it was "Dinner for one please, James"). This guy was playing the shit out of it. I didn't recognize the player either, but from the sound of the recording (or maybe it was just my system...?), I would have SWORN that it was from the 50's or 60's. The only guess that was occuring to me was that it might be an old Gene Ammons recording. I have some Jug recordings, but I have to admit I still can't recognize him all that easily. Anyway, the whole track was fantastic. I consider myself somewhat of a connoisseur of this kind of playing, and this guy was getting the absolute most out of those changes without overdoing anything. Sweet tenor playing, IMHO. So, as the track winds down, I'm praying that I get an I.D., because there's a chance I'm going to have to walk away soon. Sure enough, here comes the voice of the DJ, and the mystery player from the 1950's/60's turns out to be... BRANFORD MARSALIS! Apparently it's a new release on Rounder called "Eternal". I own... let's see... hmm... ZERO Branford Marsalis recordings. I've heard him play before, but not like THIS. After doing a search here, it looks like there's only been one thread with "Branford" in the title. And that thread only contained 2 posts. I'll admit- I've been apathetic about the guy. Without getting too much into the whole Marsalis family hype and controversy, does anybody have any educated opinions about his playing? Was this experience of mine a fluke in any way, or has he impressed anybody like this? I'm still in shock. I hope the rest of the CD is half as good as this track...

Very good question. I don't recall seeing it listed among the CD issues in the threads posted here and elsewhere. I can't find it here: http://www.jazzecho.de/page_14060.jsp? Here's another source of info (haven't had a chance to read it all yet): http://forums.allaboutjazz.com/showthread....0&highlight=MPS

Has anybody picked this up yet? His seventh effort for the label as a leader, Tomorrow Yesterday Today features guitarist Peter Bernstein and drummer Kenny Washington on a prime set of standards, with four cuts adding special guest tenorman Tad Shull. Melvin Rhyne (Hammond B3 Organ), Tad Shull (Ts), Peter Bernstein (G), Kenny Washington (D) 1. Lover Come Back To Me (Oscar Hammerstein / Romberg) 2. Buffalo (Kenny Dorham) 3. Jingles I (Wes Montgomery) 4. Darn That Dream (DeLange / Jimmy Van Heusen) 5. Niambi (Melvin Rhyne) 6. Five Flat Minor (Melvin Rhyne) 7. Enchantment (Horace Silver) 8. Tangerine (Schertzinger / Johnny Mercer) 9. Easy Living (Robin / Rainger) 10. Jingles II (Wes Montgomery) I saw it yesterday in a local shop, but didn't pull the trigger (I'll probably go back soon). This morning, I listened to a couple of my personal favorites- KOJO and MEL'S SPELL from Rhyne on Criss Cross (I think I own them all except for the above), both of which are just o-g-d trios with the exception of a few tracks with added percussion. I happen to like Eric Alexander, and some of the other hornmen that have guested on some of Rhyne's discs, but the trios really groove me the most. I give the nod to MEL'S SPELL over KOJO, BTW, but not by a whole lot. Bernstein, I think, plays out of his mind on MEL'S SPELL. W-O-W. So, what are your favorite Rhynes on Criss Cross? Here's what I have (never got around to picking up the "Tenor Triangle" discs): Mel's Spell The Legend Boss Organ Stick To The Kick KOJO Classmasters

I was listening to "Mel's Spell" and "Kojo" this morning, and was thinking about starting a thread to see which Rhyne on Criss Cross people liked best. I decided to do a search for previous discussions, and came back to this, which I never finished reading. So Dan, from the "better late than never" dept... B-) "Kojo" is not a tribute to Wes. Rhyne has done at least a couple of Wes tributes (one with Royce Campbell, one with various guitarists on "Project G5"), but Kojo isn't one of them. Bernstein is not a Grant Green clone, and does show some Wes influence- especially in his chordal playing, but he's a lot more like Grant than Wes in his overall sound and approach.

"We'll Be Together Again"? That's a different tune. This one's an original by Raney. Did they really list it that way on yours?

My LP is Pausa PR 7021. My understanding is that is was also issued as SABA/MPS 15385; and as BASF 20.21757-4 On my LP, the track sequence is: Side 1 1. Momentum (J. Raney) - 4:55 2. We'll Be Together (J. Raney) - 10:18 [listed as "Autumn Leaves (V. Duke)"] 3. The Best Thing For You Is Me (I. Berlin) - 4:30 Side 2 1. Nobody Else But Me (Kern/Hammerstein) - 4:30 2. Autumn In New York (V. Duke) - 9:55 [listed as "We'll Be Together"] 3. Just Friends (Lewis/Klemmer) - 6:12

Thanks Larry, that sounds like a plausible explanation. I might beg to differ slightly, however, regarding Gitler's notes on this. The emphasis is on Raney's bio (a nice thing to see, I might add), while the comments on the music are very (very) brief. I suppose one can be simultaneously insightful and brief, and it's not that I have a problem with brief comments about music in liner notes, but simply stating that autumn leaves is "exquisitely sung" was not exactly proof to me that he listened to that track. B-) But you're probably right.

I pulled out my LP copy of Jimmy Raney's MOMENTUM (Pausa 7021) LP yesterday, for the first time in years. As I was playing side one, track two, I noticed something odd. On both the back cover and the label, the second track is listed as "autumn leaves", but the tune I was hearing was not "autumn leaves". So, I read through the liner notes and see that this unfamiliar tune I'm listening to is actually Jimmy Raney's tune "We'll be together", which is listed as track two on side two. Ira Gitler's notes mention "autumn leaves", though. Okay, so they just listed the tunes incorrectly. Happens pretty often. So, I get to side two, and when track two starts up, I'm expecting to hear "autumn leaves", but... it's not autumn leaves- it's "autumn in new york". The double whammy. Now, I know this isn't the end of the world as we know it, but for an LP by an experienced producer (Don Schlitten) and with Gitler referring to "autumn leaves" in his notes... let's just say I was a little surprised. I mean, "autumn leaves"? Who doesn't recognize "autumn leaves"? Maybe somebody else goofed on behalf of Mr. Gitler... but his name is signed below the notes. I wonder if he actually listened to the music...

Hmm, not to be argumentative (and I certainly can not disprove your opening sentence), but I'm just curious. What is your source of information for making that opening statement? Your list of mismatched labels doesn't include any Lexington/Div. of Liberty pairing, so I don't know if you've actually seen this, or just heard about it occuring. It seems like a bit of a stretch to me, to think that pairing could occur- even given what we know about the more common types of mismatches and the reason that they occured. Would a Lexington label still be lying around after ten years of label changes and the various reissues that took place? Also, your use of the term "fake" serves to remind me of a point that I alluded to above- the notion that unscrupulous people have been known to take old labels from trashed LP's and affix them to more recent issues. If a Lexington label was attached to an LP during the Liberty era legitimately during the manufacturing process, how and why could that be termed a "fake"? I realize that you used quotation marks around "fake", but it would seem to be a poor choice of terms if in fact this occured legitimately. Again, this isn't an outright "challenge" of your post, Peter, I'm just making conversation. The only mismatches I've ever seen myself are the sequential type that you listed, so I've already learned something (the Lex / NY USA mismatch... although that could have been foul play too... ).

My discs arrived yesterday afternoon. Some interesting stuff- thanks Tom!

Dan, the last time this topic was up on the board, I pulled out my Ingram bio and read that passage. I immediately contacted Bill Gallagher (Eddie's discographer), who contacted Eddie immediately (I heard back from Bill in like 2 hours ). Eddie only recalled working with Wes once (Wes came and sat in with the trio). I don't recall a location being mentioned.

Uh... see above.

Yes, he did the Kenny Burrell album (1543) and Johnny Griffin's THE CONGREGATION (1580).

There was also a Kenny Burrell 2-CD set that contained 3 of his Muse albums.

Well, what I have is the world premiere performance. Alice Tully Hall, Lincoln Center. The (british) narrator makes a reference to a June 3, 1989 NY Times article praising this performance. Intro by Sue Mingus. I wrote on the tape "2 1/2 hrs". I guess this isn't precisely what you were after, Lon. Anyway, I'll e you.

Ah, yes, that's right. I think I know where I put the tape, so I'll see if I can't take a look at it before the kids decide to use the VCR. I'll report back...

Lon, I have a VHS that I taped off TV (can't remember if it was PBS or Bravo or...) called MINGUS' EPITAPH. Don't recall any specifics (location, etc), as I haven't watched it in ages. I think it's over 2 hours long, but I can't remember for sure. I know I have it, but it may take me a little time to locate it. edit: I do remember now that Gunther Schuller was conducting, so it must be the same one...

Strangely, I've seen Lex/NY USA combinations on more than one occasion. Not as strange as Lex / Lib, but still a bit strange, I would think...